Case Number 16858

WATCHMEN: DIRECTOR'S CUT (BLU-RAY)

The Charge

Who Will Save Us Now?

Opening Statement

Perhaps it should have come with a time machine. Then the intended
demographic, that wasn't even born before the arrival of this influential
graphic novel, would have the practical and personal context to see what Alan
Moore and Dave Gibbons were really on about. Maybe an advance copy of said
masterful book for every audience member would have helped. Aside from a single
significant plotpoint, director Zack Synder more or less recreated it panel for
panel. Each attending viewer could have been given an IQ test. Then those most
prone to appreciating garbage like this Summer's insanely stupid
Transformers: Revenge of the Fallen could be weeded out in favor of those
who appreciate a little brains with their cinematic comic booking. And finally,
it would have helped -- a lot -- if the hype machine hadn't geared up so far in
advance, expectations egged on by a seemingly non-stop marketing blitz and the
indirect promise of a project like the previous year's The Dark
Knight.

Instead, Watchmen came and went without making the massive
blockbuster splash everyone expected. Some blamed the vacant teens who wanted
their superheroics spoon-fed to them. Others cited solidarity with the
perpetually pissed off Moore and simply refused to validate this translation.
There were those who felt the film underwhelmed, leaving out necessary emotional
elements like heart, empathy, and a vested human interest. And let's face it,
there were always going to be a handful who could never be made happy, not even
if Synder and crew cast the film flawlessly and meticulously recreated each four
color frame image for image. So what we end up with is a dilemma, and an enigma.
To this critic's mind, Watchmen is a masterwork that gets better over
multiple viewings. Thanks to this new three hour extended director's cut, what
was already pristine gets even more powerful.

Facts of the Case

When famed fallen idol (and former US undercover agent) The Comedian (Jeffrey
Dean Morgan, Grey's Anatomy) is killed, his former colleague in
crimefighting Rorschach (Jackie Earle Haley, Little Children) decides to
investigate. His inquiries lead to a horrific conclusion -- someone may be
murdering masked vigilantes in an attempt to keep them from interfering in world
events. Outside of true superhero Dr. Manhattan (Billy Crudup, Big Fish)
-- a scientist transformed into a literal god when a radiation experiment goes
awry -- the former crusaders are the only individuals influential enough to
prevent an oncoming World War III. When Rorschach is framed and sent to prison,
it is up to his only friend Dan Drieberg (Patrick Wilson, Lakeview
Terrace), aka Nite Owl II, to rescue him. Along with new lady love Silk
Spectre II/Laurie Jupiter (Malin Akerman, The Heartbreak Kid) he will try
to spring his angry ally. In the meantime, the Doomsday Clock ticks ever closer
to Armageddon, and all paths appear to lead through former champion
Ozymandias/Adrian Veidt (Matthew Goode, Match Point) and his massive
multinational conglomerate.

The Evidence

Oh my god -- WHERE'S THE SQUID?!?!

In some ways, Alan Moore has every right to complain. After the butcher job
on The League of Extraordinary Gentleman, the half-hearted effectiveness
of From Hell, and the Wachowski-ization of V for Vendetta, his
tainted track record with Tinsel Town would make anyone angry. Here is someone
who literally redefined the graphic novel, whose created several works of
lasting literary relevance, and yet "smarter" men in expensive suits
have systematically acted like they know how best to handle his already
excellent ideas. So is it any wonder he's distanced himself from a version of
his consistently hailed masterwork, Watchmen? Even with obsessed fan Zack
Synder behind the lens, Hollywood's weak reputation with his work precedes it.
Too bad then that Moore made up his mind early and unequivocally. While missing
just a smidgen of the magic that made his seminal tome a lasting classic, this
is perhaps the best adaptation of a comic book ever to grace the big screen.

Indeed, Watchmen the movie is a masterpiece of style and substance, a
visionary work by a director given the tag one film too early. While 300
remains a work of staggering imagination and nerve, it lacks the underlying
context of Watchmen. Besides, while still trying to mimic the work of
another great artist (it was Frank Miller before, Dave Gibbons now), Synder
settles in to give us an epic that really takes into consideration the most
universal and unsettling of truths. Some have called Watchmen a
deconstruction of the whole superhero mythos, and that's partly true. But the
problem with said description is that it avoids all the surrounding elements
that make such a humanizing look possible. From government interference and
personal problems to the ever-present specter of global thermal nuclear war, the
reason behind the lack of masked avengers has less to do with the desire of
those willing to take up the cause and more with those threatened by their
actions...and existence.

At its core, Watchmen is all about "the bomb." It uses
nuclear proliferation and its socio-political side effects to mark everyone
involved. It provides motivation for the main crime, the conspiracy behind it,
and the actions of the individual in charge. It scares some (Laurie, The
Comedian), inspires others (Rorschach, Dr. Manhattan) and forces a couple even
further into their shell of insularity (Dan). The time machine reference in the
introduction is crucial, since this parallel world is meant to mimic the kind of
unsettled state of the real world circa the early '80s. As Englishmen, Moore and
Gibbons could see through the superpower bravado of the USA and then USSR to
calculate just how close we all were to the end. For them, the destructive power
of atomic weaponry was evident without a single missile being launched. In fact,
the entire narrative of both the book and the movie is laced with the omniscient
threat of mutually assured destruction. It colors all the actions. But if you
didn't live through it (anyone under 30 is probably too young to remember), some
of Watchmen's significance will be M.I.A.

Similarly, the current flood of comic book adaptations doesn't help
Watchmen work -- at least not as a simple mainstream entertainment. This
is Dark Knight level storytelling, fictional characters peppering a real
(if oddball) universe. As the Nixon Administration plots and perverts, as
Rorschach runs his one-man crusade against a society gone sour, we wonder where
the action is. In the case of Christopher Nolan, he made his Caped Crusader
stuntwork so spectacular that everyone forgave its rarity. But with
Watchmen, Snyder suffers from a lack of available scope. Fights are
mostly one on one, even when they occur in a big expanse. Similarly, as per
Moore and Gibbons' designs, the ideas at work are more epic than the character
face offs. When they are present, the clashes crackle with the standard four
panel panache that Snyder is known for. But when audiences are lining up for the
disposable, dunderheaded eye candy of a certain Michael Bay, insight is the last
thing on their mind.

In the end, Watchmen's biggest flaw is how immersive it is. This is a
film that relishes its attention to detail, which wallows in a world that
doesn't offer easy answers or quick fixes. Death is all around, and no one is
immune from its impact. Sure, some may quibble that the last act revelation
suffers from missing its more "extraterrestrial" facets, and they
would have a point. Yet the argument against the Squid is as valid as the
reasons for including it. Remember, this is a movie being made nearly three
decades after the fact, a kind of creative temporal displacement that mandates
that certain contextual distinctions be made. Because of our current War on
Terror clime (referenced more than once in the film) and failure to address our
ongoing energy needs, Snyder and company decided to make that threat, and its
possible source, a more cogent and recognizable villain. It certainly brings the
entire premise up to date, and delivers a finale that meets the source material
head on. Still, for a few purists, that will not be nearly enough.

Of course, what fans of the theatrical film will want to know is what,
exactly, makes up that touted director's cut -- nearly 24 minutes of extra
footage. First and foremost, the original Nite Owl Hollis Mason gets the
send-off his storyline deserves. Instead of dying as an after thought, we get to
see a terrific fight were our former "mask" remembers villains from
his past in full blown monochrome flashback. Each punch landed becomes a page in
this particularly painful (and final) scrapbook. In addition, we spend a little
more time in Vietnam, Dr. Manhattan's presence on the battlefield extended so we
can indulge in a little more of his matter-defying carnage. There is also more
of Mr. Blue's interpersonal tangles with disgruntled honey Laurie Jupiter. These
new bits add a depth to their relationship that seemed missing in the original
version of the movie. Laurie's mom Sally also gets a few more choice scenes, as
does Nixon and his weird war mongering cabinet. Finally, the news vendor and the
ever-present African American kid sitting on the corner, reading a famed comic
book, have a couple of added nods.

Which brings us to the biggest gripe with this release. Oddly enough, what's
not here in the new cut is the promised supplemental material -- the documentary
Under the Hood or the animated short Tales of the Black Freighter.
Even though we get a running time of over three hours, none of this separately
created stuff is even mentioned. It's not in the director's edit, and it fails
to make an appearance as part of the three disc offering. Of course, the reason
becomes quite obvious when you open the packaging. Apparently, Warner Bros. is
already PLANNING a double dip for December. Said five DVD set will
include yet another cut with the Black Freighter material incorporated,
as well as discs offering Under and the equally wonderful Watchmen: The
Complete Motion Comic. In some consumer's minds this will be reason enough
to pass on this version. Still, one imagines Warners will measure out the added
content in such a way as to require you to purchase both. As with all cases of
caveat emptor, the decision is totally up to you.

From a technical standpoint, this Blu-ray is practically flawless. Warners
has done a near definitive job of transferring Snyder's oversized vision to the
home theater domain. Of course, the massive scope of the ending really can't be
captured on the small screen, but the pristine 1080p high definition is stunning
in its clarity and intricacies. It expertly preserves the original 2.40:1 look
of the film, as well as adding captivating aspects all its own. This is
especially true of the entirely CG character Dr. Manhattan. The smallest facial
movements and tics are translated to the audience effortlessly, thanks to the
new format. As for the sound situation, Watchmen's lossless DTS HD Master 5.1
English audio track is tremendous. It's big and boisterous, filled with classic
era-appropriate songs and a unique ambient oriented soundtrack from composer
Tyler Bates. There is excellent use of the speakers in defining space,
especially during scenes were location (Dan's underground lair, Adrian's
Antarctica retreat) matters most. The dialogue is always upfront and
understandable, and for those outside America, Warners provides a French track
(in 5.1) and a selection of subtitles.

The big news, aside from the always marketing-mandatory digital copy of the
film, is the exciting bonus features offered. Remember, Warners will probably
NOT repeat these bits of added context come December, so if you are
interested in the information provided here, you may need to buck up and buy
this particular release. The only supplement on the director's cut disc is the
brand new Immersive WB Maximum Movie Mode. A short description of this new
multimedia display would be as follows -- the studio takes all the standard
extras (featurettes, making-ofs, interviews) and incorporates them into the
running time of the film. They accomplish this via split screen, prompted menu
access, video commentary and asides by director Snyder, picture in picture clips
and tag-along Q&As with the cast, as well as a trivia timeline comparing the
real world to the Watchmen universe. While it doesn't always function
seamlessly (which may have more to do with the individual Blu-ray player than
the title itself), it's a unique way to look at the film from dozens of
differing angles.

Similarly, the second disc offers three unique and inventive documentaries
(all offered in 1080p high def, FYI). The Phenomenon: The Comic that Changed
Comics is an in-depth -- if once again, Alan Moore free -- take on the
original Watchmen graphic novel and how it impacted and altered the
entire 'funny book' industry. Gibbons is on hand, and his insights are crucial
to gaining the proper perspective about what Watchmen really means. There
is also a weird little item dealing with the whole concept of citizen justice.
Real Super Heroes, Real Vigilantes utilized interviews with the Guardian
Angels and other Neighborhood Watch advocates to trace the history of non-law
enforcement law enforcement. It truly is a quirky little piece. We then get a
look at something called Mechanics: Technologies of a Fantastic World
that tries to explain, scientifically, the various superhero devices and designs
used in comic books. Again, it's an unusual and quite compelling inclusion. You
can also access all 11 of Watchmen's video journals check out the music
video for My Chemical Romance's remake of "Desolation Row," and if you
can figure it out, share your Blu-ray experiences with the BD-Live! feature.

Closing Statement

In truth, it was a no win situation from the start. Obsessives were going to
balk loudly and frequently about the various minor changes made, while those
outside the Moore/Gibbons loop were going to look at the luxuriant dedication to
detail and tune out automatically. It's their loss, sadly. While it may not be
recognized as one now, it is easy to see Watchmen going down as one of
the best films of the new millennium, a stark and dire blockbuster that demands
as much of its audience as the adaptation to an award winning novel could. Some
have said it was unfilmable. Others proudly proclaimed that Snyder let ambition
and creative arrogance get the best of him. But even if you dismissed it before,
go back and take another look at this amazing movie. It may not be the most
emotional cinematic rollercoaster ever crafted and there are still elements
missing that made the graphic novel great. But for what it could have been
(read: just horrendous) and what we eventually got (faithful, dedicated,
demanding), it's a worthy comic complement.

The Verdict

Not Guilty. A great film flummoxed by an awkward word of mouth that really
didn't understand what they were complaining about.